Comparison of Scale Degrees In Major and minor

1. Scale Degrees ^1, ^2, ^4, and ^5 = Tonal Scale Degrees same for major and all three forms of the minor. Scale Degrees ^3, ^6, ^7 = Modal Scale Degress (differ) C Major and c minor = Relative or Parallel M/m pair? ∂ ∂ ∂

2. Lowered (“flat”) ^3 used in all 3 minor scales ∂ ∂ ∂ Minor Scales

∂ ∂ ∂ 3. All forms of the minor scale identical at ^1 ^2 ^3 ^4 ^5 Minor Scales (cont.)

∂ ∂ ∂ 4. Natural minor has lowered ^6 and lowered ^7 (once you memorize key signatures lowered ^6, ^7 are there “naturally”) Natural Minor

∂ ∂ ∂ 5. Harmonic minor has lowered ^6 but raised ^7 corollary 1: creates “gappy” augmented 2nd (=3 half steps) btw. ^6 and ^7 corollary 2: harmonic minor is the only scale with 3 half steps Harmonic Minor

∂ ∂ ∂ Melodic Minor (Ascending) 6. Melodic minor ascending has raised ^6 and raised ^7 ( i.e., ^6 and ^7 are the same as in major)

M/m Key Relations in Actual Compositions 1. Key signature suggests 2 possibilities 2. Look for chromatic alterations, esp. leading tone (LT), to indicate minor. (LT always requires accidental) 3. Look for melodies that emphasize ^1 ^3 and ^5 4. Final bass tone (lowest note) in phrase, section, piece, is often the tonic 5. Bass (lowest voice) motion from ^5 -^1 at a cadences